Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm...
Nóra G. Etényi Eötvös Loránd University, Faculty of Humanities, Early Modern History Department
Broadsheets with Engravings in a Manuscript Chronicle from Ulm: Visual Representations of the Hungarian Kingdom on German Political Leaflets during the War of Reconquest (1683–1699)
Original scientific paper – Izvorni znanstveni rad Received – Primljen 1. 2. 2019. UDK 7.044:762/766"1683/1699" 930.2Gockel, E. DOI 10.31664/ripu.2019.43.07
Abstract The news about the war of expulsion against the Ottoman Empire interests of the House of Habsburg, but he mainly focused on the role was presented by a multi-central propaganda. A manuscript chronicle of the imperial and troops from the region of Swabia. His manuscript written in Ulm demonstrates the literacy of the broadsheets’ reader- illustrated with engravings gives a detailed description of the Hungarian ship. The writer, Eberhard Gockel (1636–1703), a physician from Kingdom’s fight against the Turks. Gockel focuses on the news of the Ulm, wrote a diary on the most important occurrences and affairs anti-Ottoman war of 1683–1688 and he recorded the victories against of the Turkish war from 1678 to 1703. He attached to his chronicle the Turks even after the French invasion of the Rhineland in 1688. broadsheets and engravings on the recaptured Hungarian fortresses and Gockel was critical of the quantity of military news and tried to remain the great victories against the Turks. Gockel had good sense for high unbiased on political and religious questions. Gockels’ chronicle proves quality engravings, and he chose the works of publishing houses with that the readers of the broadsheets had all the tools to use the media of excellent reputations, for example Jakob Koppmayer from Augsburg, that time critically, and that sensibility and curiosity for the news of the Johann Jonathan Felsecker and Johann Hoffmann from Nürnberg and world was a significant part of the identity of a citizen in a city like Ulm. Michael Wening from München. As a citizen of Ulm, he respected the Keywords: Eberhard Gockel (1636–1703), broadsheet readers, Great Turkish War (1683–1699), Manuscript Chronicle from Ulm, manuscript illustrated with engravings, illustrated broadsheets
Throughout the early modern period leaflets covering vari- extensive, yet high-quality leaflets appeared covering the ous topics, illustrated with etchings, played a decisive role events of the Great Turkish War (1683–1699) with reliable both in ensuring the rapid flow of information and a more textual information and quality etchings. The war against accessible visual communication that was able to reach the the Ottoman Empire was accompanied by the sophisticated broader social strata. Leaflets covering topics of public competition for representation among the allies, members interest ensured that an outstanding amount of informa- of the Holy League and the electors, all the way through tion reached the audience of the Holy Roman Empire in from the siege of Vienna in 1683 to the Treaty of Karlóca/ regard to the wars against the Ottomans. This visual form of Karlowitz/Sremski Karlovci (Serbia) in 1699. However, the information broadcasting was able to easily cross national leaflets not only reflected the direct political interests of borders and presented the wars as a common European their source; instead, they conveyed meaningful knowledge struggle to the broader audience of the 16th–17th centuries. of military events, political turning points, the economic In relation to the major crises – such as denominational value and history of the areas reconquered from the Ot- feuds, the Thirty Years’ War – the leaflet genre went through tomans, and the changing of the enemy’s general percep- changes as well. The intense ecclesiastical and secular prop- tion. The unique 17th century manuscript chronicle proves aganda accompanying domestic and international crises, that educated urban citizens used the visual information mock-ups of political and military opponents and satirical provided by leaflets in an intelligent and versatile manner, symbols periodically led to a certain degree of devalua- constituting a realistic picture of the transformation of tion of the genre. At the end of the 17th century, however, power in an expanded political space.
91 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102)
Eberhard Gockel (1636–1703), a doctor from Ulm and as such an educated urban citizen, composed an immensely valuable chronicle between 1678 and 1703, the first part of which presented the city’s history from the Middle Ages, while the second part was a contemporary historical summary. It exhibits the significant changes in Gockel’s hometown, the narrower region, the Swabian district and the Holy Roman Empire, of which he captured the events of the war against the Ottomans in Hungary with the greatest detail.1 Gockel’s record, rich in information, is evidence of a sophisticated re- lationship between the author and visual communication. The doctor used sixty leaflets illustrated with etchings, cityscapes and portraits as insertions in his manuscript. What could have been Eberhard Gockel’s goal with the manuscript for several decades though? Gockel published a great deal, but his works in connection with his rise in status were all related to his chosen profession of medicine. Following his studies in Tübingen and Basel, Gockel started his first practice in Ulm. This was followed by a practice in Geislingen from 1659 and then Giengen from 1675, shortly after which in 1678 he became the physician of the Weiltingen branch of the Ducal family of Württemberg.2 In 1685 he became a member of the Academy Leopoldina, which was founded in 1652 in Schweinfurt, and renamed after Emperor Leopold in 1687.3 The institution became the German Academy of Natural Sciences some time later. Gockel’s name is also recognized in the history of science, as he identified a poisonous disease (colica pictonum) that reappeared around the end of the 17th century and was caused by must fermented in lead vessels.4 His successful work was published in 1697 in Ulm5 and then again during the spring of 1699 in Augsburg, Frankfurt and Leipzig. In 1700, he dedicated his 300-page Latin language digest on his medical activities to Emperor Leopold.6 Gockel might have been inspired by the high-quality natural science literacy among the higher classes of Ulm, and its increased interest 1. Philipp Kilian – Andreas Schuch, Eberhard Gockel, 1668, 7352904_ in medicine.7 Eberhard Gockel’s father Johann Georg Gockel Port_00073270_01 (1001 × 1680 mm), Austrian National Library, Portrait Collection was the head of the prestigious Collegium Medicum of Ulm Philipp Kilian – Andreas Schuch, Eberhard Gockel, 1668., 7352904_ between 1679 and 1693, and Eberhard became a member in Port_00073270_01 (1001 × 1680 mm), Zbirka portreta Austrijske 1677, while his son, Christoph, became one in 1700.8 nacionalne knjižnice Gockel did not intend to publish his chronicle in the short term, but rather gathered his Ulm-centered observations at Gockel also regarded the tradition of urban history manuscripts the time of an epochal change for an urban chronicle that as a base model, and therefore used Marchthaler’s Ulm Chroni- was to be published later. Gockel did not conduct an “offi- cial” urban chronicle, capturing instead important “outside cle as well as a base model. Several generations of Marchthalers had captured their far-reaching trips as textile traders. Veit world” events for his city, focusing mainly on the Great 15 Turkish War. Gockel did not write a diary, although he did Marchthaler (1564–1641) spent many years in Hungary. Using record his own role in setting up a camp pharmacy for Ulm’s the manuscript of Veit Marchthaler (1564–1641), Martin Zeiller reserve army,9 and when he examined the health of soldiers published his best-selling work on the cities of the Hungarian returning from the war. Kingdom in Ulm, which later had six updated editions between 1646 and 1690.16 Publishers from Ulm (Kühn,17 Wagner) guided In the cities of the Holy Roman Empire, besides printed the release of many geographic descriptions and travel guides, urban stories and manuscript logs, chronicles were also an including numerous Hungarian references. important part of community representation, conveying the ideal image of the city.10 Gockel used11 the Ulm urban Eberhard Gockel relied on the conventions of urban chronicle, published in 1653,12 which was based on urban chronicles,18 but he also modernized this traditional genre chronicles by Martin Zeiller, a well-known editor.13 Gockel with knowledge deriving from contemporary scientific also included the Ulm cityscape in his chronicle from Mat- achievements. The doctor recorded the earthquakes of Ulm,19 thäus Merian’s Topographia.14 the appearance of comets20 and weather phenomena, and he
92 Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... also logged the quality of fruit and grain production, and the navigability of the Danube in relation to long, cold winters, dry summers and rainy springs (Fig. 2). Gockel legitimised his own role as a contemporary historian with an introduction covering the city’s medieval history, displaying the golden age of Ulm. However, by the last third of the 17th century, Ulm’s wine, luxury and spice trade, as well as its textile industry, did not bring such significant profits as in the 15th century.21 However, the Danube, navigable from Ulm, continued to provide a great opportunity to trade with the imperial capital.22 The Swabian reserves embarked for their journey in Ulm to reach the theatre of war during the Great Turkish War, and from 1712 onwards, the city served the same purpose for the German settlers leaving for their new homes in the recaptured area. Gockel noticed that Ulm’s 17th-century political significance was closely associated with an active role in the struggle against the Ottomans, which was systematically recorded by the author between 1683 and 1699. The manuscript is dominated by the events of the war against the Ottomans from 1683 to 1688, up until the French attack that threatened the city of Ulm directly. However, even beside the records of the rapid and devastating advancement of the French army along the Rhine in 1688–1689, the news of the Hungarian War continued to be represented – albeit with decreasing intensity – up until 1699. Gockel’s information was reliable and provided a realistic picture of the events of the war of reconquest. However, the author did not mention where he obtained his information. 2. “Wahre und eigentliche Abbildung eines Cometen oder Wunder- The doctor also included etchings and pamphlets in his Sterns” (Comet observed over Nové Zámky on 1 January and again over Leopoldstadt on 10 February 1682 predicting the Ottoman manuscripts about the great victories over the Ottomans, invasion.), “Nürnberg, zu finden bey Leonhard Loschge, gedruckt and about the castles that had been recaptured. The visual by Christian Sigmund Forberg”, 1682, T 1073 (3430 × 4530 mm), material demonstrates that the chronicle writer has consist- Hungarian National Museum ently gathered all the essential knowledge available. The “Wahre und eigentliche Abbildung eines Cometen oder Wunder- Sterns” (Komet viđen iznad Nové Zámky 1. siječnja i ponovno iznad engravings depicted specific castles and cityscapes, as well Leopoldstadta 10. veljače 1682. kao predznak osmanske invazije.), as busy pictures of battles in a few select cases. The visual “Nürnberg, zu finden bey Leonhard Loschge, gedruckt by Christian reports brought the military scene closer to the audience, Sigmund Forberg”, 1682., T 1073 (3430 × 4530 mm), Mađarski na- although it was not the military engineering plans, military rodni muzej reporting and war diaries that the chronicle writer found particularly interesting: he was fascinated primarily by the cityscapes. The thirty etchings inserted in the second half For the first part of Gockel’s chronicle, he selected representa- of the chronicle – including the extensively informative tive portraits of dominant members of the Church as well vedute of Eger, Székesfehérvár, Belgrade, Kanizsa, Gyula, as the secular elite of Ulm, commemorating his contempo- Várad/Grosswardein/Oradea/ (Rumania) and Temesvár/Te- raries and their great predecessors with half-portraits and meswar/Timişoara (Rumania) – prove that the author made short poetic biographies. Gockel used high quality works by his choices consistently when selecting from the plethora well-known South German craftsmen in his manuscript. In of news available. Gockel systematically screened against most cases Augsburg artists specialising in portraits were re- direct propaganda and did not incorporate a large number sponsible for the portraits, such as the members of the Kilian of published equestrian portraits, anti-Turkish mockery, and dynasty: Lucas (1579–1637), Wolfgang (1581–1662), Philipp political allegories interpreting power relations. His chronicle (1628–1693) and Bartholomäus (1630–1696). Gockel also only included two semi-portraits in the section dedicated to used several etchings by Leonhard Heckenauer (1627–1704) topicalities. In 1687 he included a portrait of Joseph I, which an Ulm craftsman, who studied at the Merian publishing emphasized the young age of the Crown Prince,23 who was house in Frankfurt am Main and later practiced his craft being crowned the King of Hungary at the time (Fig. 3). mainly in Augsburg.25 The works of an Ulm painter, Andreas On the 12th of August 1689, despite being a pious Lutheran, Schuh (1645–1680), also played an important role in the he inscribed an etching of Pope Innocent XI, commenting rapid preparation of the Augsburg etchings. The religious positively on the role of the deceased in organizing the war and secular elite of Ulm knew the representational potential against the Ottomans and counterbalancing the aggressive of etching portraits very well and took advantage of them foreign policy of Louis XIV.24 accordingly.26 Printed portraits of all 17th-century preachers
93 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102) of the cathedral of Ulm remained intact without exception. Eberhard Gockel’s appearance is known to us through ten different half-portrait etchings, with three distinct variations, from his published volumes.27 Gockel inserted two of his own portraits in his chronicle: Andreas Schuh and Philipp Kilian’s engraving in 1668,28 and another noticeably later portrait where he is seen wearing a white wig. The latter one was made by Georg Andreas Wolfgang (1631–1716), an Augsburg artisan, in 1700 (Figs. 1, 4).29 The visual inclusions of the manuscript chronicle prove that Gockel was primarily attempting to capture the rapid informa- tion flow of the Great Turkish War through leaflets. The doctor used both leaflet reports and printed text, rich in historical and geographical information at the same time. Gockel did not copy the text of the leaflets into his manuscript, merely used them to support the credibility of his knowledge with carefully selected prints. For Gockel, the leaflets contained the information in a compact, easily digestible way for con- temporaries and even the audiences of later ages. Gockel collected quality leaflets from acclaimed Augsburg, Nürnberg and München publishers. During the second half of the 17th century, Augsburg and Nürnberg were considered the most productive and best quality leaflet centres in the Holy Roman Empire,30 where traditionally a significant num- ber of Hungarian-related leaflets and news about the Great Turkish War appeared. Gockel bought most of his etchings from Jakob Koppmayer (1640–1701). This Augsburg pub- lisher was responsible for the largest number of leaflets on the events of the war of reconquest, consistently following the turning points of the Great Turkish War between 1683 and 1699.31 Koppmayer’s remaining forty leaflets represent a rather similar taste and value system to Gockel’s chronicle. Jakob Koppmayer published reliable and meaningful news 3. Praise of Archduke Joseph as the King of Hungary, 1687, inv. no. leaflets; he did not publish mocking imagery however, and 2232 (2968 × 4720 mm), Hungarian National Museum Slava nadvojvode Josipa kao ugarskog kralja, 1687., inv. no. 2232 published but a few glorifying equestrian portraits of Emperor (2968 × 4720 mm), Mađarski nacionalni muzej Leopold I. The Augsburg master also published large, volatile leaflets in another format, including the etchings folded in separately. He later republished the cityscape as a historical and view39 as early as 1684, following the unsuccessful siege of geographical summary, partly as a business move, and partly Buda. These were also included in a twenty-two piece series as an attempt to collect practical knowledge in a format with depicting the movements of the Bavarian elector’s armies longer relevancy. The etching of Vác and Nógrád in Gockel’s 40 chronicle matches the depiction of Delineatio Provinciarum in 1686. Louis Nicolas d’Hallart, the chief army advisor of Emperor Maximilian Emanuel II, was personally present at Pannoniae et Imperii Turcici by Johann Christoph Wagner 41 (1640–1703?).32 Johann Christoph Wagner’s work was pub- the siege of Buda in 1684 and in 1686 as well. Buda’s 1686 lished by Koppmayer in 1684 and then between 1685 and 1688 siege was represented in an extremely large number of leaf- 42 in four volumes, which were continuously updated. lets and vedute. Gockel himself included two depictions of Buda’s recapture of 1686. He purchased a two-part veduta Although München was not considered a prominent centre published by the etcher Wening, and drawn by the military of etching publication in the early modern era, the impressive engineer Hallart (Fig. 5). These depicted the castle from the printed visual propaganda of the Bavarian elector, Maximil- direction of both Pest and Székesfehérvár. The large, double ian Emanuel II, with its high quality etching works had a depiction included many of the main buildings and defence great influence at the end of the 17th century.33 The vedute systems of Buda Castle and provided meaningful informa- of the military engineer Louis Nicolas d’Hallart and court tion that helped the “civilian” viewers understand the main etcher Michael Wening (1645–1718), published between directions of attack, and the locations of the canons of the 1683 and 1691 as leaflets and parts of larger summaries, 43 sought to represent the realistic conditions of the natural imperial armies. Gockel also included Koppmayer’s leaflet 34 from Augsburg, which summarises the history and signifi- and built environment as well as the layouts of castles. 44 Hallart and Wening published a large four-part view of cance of the castle. Buda from the directions of the four points of the compass Gockel also purchased works from famous Nuremberg pub- (west,35 north,36 east,37 and south38) as well as a bird’s-eye lishers. In the 1680s, ten publishers in Nuremberg also dealt
94 Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm...
fourteen flyers about the Great Turkish War. In regard to the battle of Nagyharsány, Gockel chose to include David Funk’s leaflet in the chronicle.47 Funk – in cooperation with his father-in-law, the rather talented etcher Johann von Sandrart – published dozens of laudatory equestrian portraits, as well as that of Grand Vizier Kara Mustafa and Sultan Mehmed IV, and even a (fictitious) image depicting captured Turkish noblewomen, and only three leaflets survived in publications about the second stage of the war of reconquest. Johann Hoffmann gained fame with his informative leaflets. He was active in Nürnberg from 1655 onwards, and 78 of his publications have survived, mostly from the time of the 1663–1664 war.48 Gockel’s chronicle included one leaflet by Johann Hoffmann, which reported on the destruction of Speyer by the French armies in 1689. Gockel prioritised the inclusion of imagery about the Ottoman theatre of war, but included a few etchings about the military developments along the Rhine and the maritime struggles of the League of Augsburg. In the Holy Roman Empire, the news of northern interests – primarily Dutch and English – were mainly pre- sented to greater audiences by Heinrich Heuss and Thomas Wiering (1640–1703), Hamburg publishers who also printed many Hungarian-related leaflets during the 1680s,49 although they were not included in Gockel’s chronicle. Meanwhile the publisher Wiering in Hamburg and Mat- thäus Wagner (1648–1694)50 in Ulm collaborated effectively in publishing Eberhard Happel’s (1647–1690) novel taking place during the Great Turkish War in Hungary.51 Gockel followed the Turkish wars thoroughly, mostly fo- cusing on the Hungarian theatre – occasionally including maritime events, and even more rarely Polish and Russian 4. Georg Andreas Wolfgang, Eberhard Gockel, 1700, 7352940_ developments – but an educated urban citizen who was open Port_00073273_01 (1113 × 1680 mm), Austrian National Library, to this world also found it difficult to transcend the diverse Portrait Collection conflicts of power in Europe. Gockel, turning away from the Georg Andreas Wolfgang, Eberhard Gockel, 1700., 7352940_ noise of the various theatres of wars, continued his chronicle Port_00073273_01 (1113 × 1680 mm), Austrijska nacionalna knjiž- nica, Zbirka portreta with decreasing intensity in the 1690s, and added far fewer etchings. Gockel picked up a few leaflets from an unknown 52 with leaflet publishing, specialising in different fields, but ef- publisher about the new English warship that inflicted fectively communicating the news of the Great Turkish War in heavy damages in the ports of Normandy, as well as about William III and Maximilian Emanuel II’s bloodbath53 against Hungary. The biggest publishing house in Nürnberg – other th th than the Endters, who did not publish leaflets – was that of the Luxembourg Marshal fought on the 19 /29 July 1693. After 1688–1690, the large publishing houses published few- the Felssecker family, which also published a weekly newspa- er leaflets, as they had changed their strategy to publishing per from 1673 onwards. Nine leaflets from Johann Jonathan weekly newspapers and other historical-geographic works. Felssecker are known to have been published between 1683 and 1699, all including reliable information and etchings with Gockel also used a trade fair publication to illustrate his high quality. In 1686, Gockel purchased a leaflet published chronicle. The dual etching of Székesfehérvár and Szigetvár by the Felssecker, informing about the capture of Pécs and was published during the autumn of 1688 in Frankfurt am Szeged at the same time (Fig. 6).45 The Viennese chronicle Main as part of the Relationis Historica Semestralis.54 However, was not included in the Ulm Chronicle, but this Nürnberg the versatile foreign policy analysis of the fair summaries pub- publication with two etchings shares multiple similarities with lished twice a year was not included in Gockel’s manuscript. Johann Martin Lerch’s Vienna print. The Felseckers’ carefully He used the intersections consciously to represent the city of established connections in Vienna are clearly represented by Ulm. Gockel did not include etchings of the Ottoman siege of the fact that they had played a significant role in Habsburg Vienna in 1683, although he did monitor the events closely. dynastical representation since the 1670s. In 1682, Gockel On the other hand, he did include three different pictures of included Leonhard Loschge’s leaflet informing readers about the capture of Érsekújvár/Neuhäusel/Nové Zámky (Slovakia) the approaching war against the Ottomans. The Nürnberg in 1685. Gockel understood the strategic significance of the publisher and merchant, Loschge, was active between 1675 former Captain General centre’s recapture. However, the and 1700 in the given field.46 In 1683, Loschge published doctor was not interested in the military event preparing for
95 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102)
5. Louis Nicolaus d’Hallart – Michael Wening, Siege of Buda (Ofen) by Christian forces, “Prospect der Statt Ofen wie solche von Stuhlwe- issenburg zusehen”, Apponyi Metszet 560 Louis Nicolaus d’Hallart – Michael Wening, Opsada Budima od kršćanskih snaga, “Prospect der Statt Ofen wie solche von Stuhlweissenburg zusehen”, Zbirka Apponyi 560
Buda’s successful recapture about which Leopold Voigt in Vi- who sought to translate the Quran into German.63 Gockel, as enna and August Hanckwitz at Regensburg published proper a chronicler of the Great Turkish War, systematically captured military logs.55 The printed logs – in line with Gockel’s concept the unique plunder, the horsetail flags,64 yet did not write with – described the struggle of the 1600 Swabian troops at the last noticeable bias about the “archenemy”. His attitude was more big attack on the 19th of August, highlighting the 300 head that of open-mindedness, a scientific interest in the image of strong unit in the right-wing column, which even managed the great adversary, as he saw the extensive blood sacrifice of to capture the Ottoman Guard’s green flag.56 Gockel carefully the war in a realistic light. captured the significant role played by Swabian troops with 57 Gockel presented the military and political role of the Swa- three etchings. The “bottom view” depiction of the siege bian district together, as well as the importance of Ulm for the summoned the viewpoint of the Swabian army assaulting the efficient operation of the territory. In the threatening reality Forgách bastion for the distant chronicler, highlighting the of the anti-Turkish and anti-French wars, imperial districts approaching trench, the camp’s general atmosphere, and the 58 again became an important factor in the deployment of the incendiary bombing of the inner city. Gockel had acquired a military.65 In addition to the imposing city hall, Ulm was also printed layout of Neuhäusel/Nové Zámky (Slovakia) together able to provide a theatre building for the district councils, with fifty labels explaining the locations of the besieging army, and the shore of the Danube served as a gathering place for highlighting the Swabian reserves at the last big assault.59 The reserve troops. A separate etching was created depicting the representation of the Swabian district on the third etching is departure of the reserves from Ulm as well.66 even clearer, two-thirds of which is covered with the military flag of the Ottoman Guard, which was – as a note clarifies – Gockel sensed that the setting up of the Swabian reserves captured by the Swabian troops led by Count Charles Gustav served as an opportunity for the Principality of Württemberg, of Baden-Durlach.60 The bottom part of the picture displayed Count Charles Gustav of Baden-Durlach and Maximilian the same informative layout of Érskújvár without any further Emanuel II, the Bavarian elector, to increase their political explanation included. Gockel inserted this etching into his influence in the region. The Principality of Württemberg, chronicle at exactly the same section where he described the which was loyal to the emperor and a fierce protector of arrival of Count Charles Gustav of Baden-Durlach in Ulm Lutheran interests even beyond the borders of the Holy on the 18th/28th November 1685 as the general of the Swabian Roman Empire, also had significant political importance troops, presenting the Ottoman flag of green silk with Arabic in the Swabian district. Friedrich Charles (1652–1698), text on it decorated with gold.61 The etching was created by Prince of Württemberg, who was ruling in the name of his the famous painter Johann Ulrich Krauss from Augsburg, who nephew Louis Eberhard (1676–1733) from 1677 to 1693, based it on a drawing by Sixtus Kummer from Ulm (Fig. 7). was commander of the Lutheran Swabian troops from 1691 Jacob Koppmayer published a print a few pages long about onwards.67 Gockel also respected Habsburg dynastic inter- the Ottoman military insignia, captured at Nové Zámky, in ests. In January 1690, the crowning of Joseph I as King of which Matthias Friedrich Beck (1649–1701), a preacher from the Romans in Augsburg gave an opportunity to capture the Augsburg and famous orientalist, interpreted the meaning of role of Emperor Leopold with two high-quality allegories the golden inscriptions on the silk flag.62 Beck was a member of in the defence of the Holy Roman Empire struggling in the the Lutheran circle of Gottfried Wilhelm Leibniz (1646–1716) grip of a war on two fronts. Gockel briefly wrote about the
96 Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm...
6. The capture of Segedin (Szeged) and Fünfkirchen (Pécs) by Christian forces, 21 October 1686, “Eigentlicher Abriss, der durch die Christliche Waffen denen Türcken abgenommenen zwey Städte Segedin und Fünfkirchen… Nürnberg zu finden bey Johann Jonathan Felsecker Anno 1686”, 1686. 10. 21. Szeged, Pécs T 782b (4016 × 4758 mm), Magyar Nemzeti Múzeum Zauzeće Segedina i Pečuha od kršćanskih snaga, 21. listopada 1686., 1686. 10. 21. Szeged, Pécs T 782b (4016 × 4758 mm), Mađarski narodni muzej celebrations68 in Augsburg and Ulm, but placed the two finely Bulgaria and Transylvania pleading next to a turbaned crafted, larger allegorical works of 1690 in a prime location figure with the inscription “Constantinople”. The depiction at the beginning of the chronicle. On one of them, Emperor of Transylvanian vassalage is also noteworthy because in Leopold is seen in armour, crowned with a laurel wreath and the chronicle there was no meaningful information about with his third wife, Eleonore Magdalene von Pfalz-Neuburg, the Transylvanian Principality, not even at the recapture of seated on a baldachin throne, next to a female figure offering Várad/Grosswardein/Oradea (Rumania) in 1692. A versatile the olive branch of peace. On the other image, meanwhile, depiction of Hungary can be observed in the chronicle from the young King of the Romans, Joseph I, is greeted by the the vedute of the recaptured towns. Gockel made no refer- female figures of the reconquered lands: the kneeling Hun- ence to the domestic political relations of Hungary, neither gary, Serbia, Dalmatia and Slavonia as well as Walachia, the Parliament of 1687, nor the Hungarian nobility on the
97 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102)
7. J. Ulrich Krauss – Ch. Kümmer, Ottoman Military Flag with view of Neuhäusel (Nové Zámky), 1685, “Abbildung des Türckischen Haupt- Fahnens…”, Apponyi Collection (Apponyi Metszet), 398 J. Ulrich Krauss – Ch. Kümmer, Osmanska vojna zastava s vedutom utvrde Nové Zámky, 1685., “Abbildung des Türckischen Haupt-Fahnens…”, Zbirka Apponyi 398 side of Imre Thököly or the emperor. The Wagner publish- tion compression. The visual material served as evidence and ing house in Ulm had published many forms of Thököly’s reference for the claims in his manuscript. Gockel purchased policy, such as Daniel Speer’s novel taking place in Upper from renowned publishers, but did not consider artistic Hungary including a biography of Imre Thököly, titled Da- quality as his primary concern; instead, the credibility of the cian or Hungarian Simplicissimus.69 However, Gockel’s work visual information served this purpose. He selected etchings was far from Matthäus Wagner’s popular, pre-interpreted carefully; no pictures of mockery, merely entertaining genre publications. However, Gockel did not refer to the political paintings or overcrowded political allegories were included and denominational conflicts in his manuscript. The po- in his collection. Gockel used the opportunities inherent in litical forum of the Regensburg Imperial Assembly was not contemporary information capabilities, and collected and included in his chronicle either. described locally important phenomena in the midst of the Leaflet compilations70 created by the urban citizenry are major transformations in extending space. known from larger printing centres from the early modern The use of etchings by Gockel shows many similarities with age, as well as such urban chronicles where the author included that of his renowned contemporary Johann Weichard Valvasor prints.71 Georg Kölderer (1550?–1607) from Augsburg also (1641–1693), a true polyhistor.74 Although the Carniolan aris- included several newspapers and leaflets in the 2400-page tocrat Valvasor, who collected 7921 graphics had much greater manuscript72 he compiled as the scribe of Weiss Trading House potential than the Ulm doctor did, yet Gockel selected actual between 1576 and 1607.73 At the end of the 17th century, how- military and political leaflets with a similar view, from 1683 ever, manuscript summaries that included etchings and leaflets to 1687, also purchasing primarily from Jacob Koppmayer, became rare. Gockel used the etchings as tools for informa- Johann Jonathan Felsecker and Johann Hoffman.
98 Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm...
Eberhard Gockel’s rich and focused chronicle written over two news, consciously using visual information and etching based decades proves that educated citizens of imperial cities at the representation for the eternalisation of their worldview, social end of the 17th century were well informed through printed status and the values of their urban environment.
Notes
1 11 Ulmischer Chronik Beschreibung der Statt Ulm Anfang, Auffnahm, G 1 1703/1, f. 398. Policey, Grabräuchen und was sich sonsten darin denckwürdiges begeben. Auss weyland Herrn Veit Marchtalers sel. und anderer 12 geschriebenen Chronicken mit grosser Mühe zusammengetragen MARTIN ZEILLER, Chronicum Parvum Sueviae, Oder Kleines von Eberhard Gockel 1678; Haus der Stadtgeschichte. Stadtarchiv Schwäbisches Zeitbuch, Ulm, Kühn, 1653. Ulm G 1 1703/1 (hereafter: G 1 1703/1). 13 I would like to thank Dr Gudrun Litz for her help in the Stadtarc- WALTER BRUNNER, Martin Zeiller (1589–1661) Ein Gelehrten- hiv Ulm and Thematic Excellence Program Community building: leben, Graz, 1989. family and nation, tradition and innovation. 14 2 Engraving of Georg Rieder d. J. (1570); HANS EUGEN SPECKER, ALBRECHT WEYERMANN, Nachrichten von Gelehrten, Künst- Ulm, in: Das Bild der Stadt in der Neuzeit 1400–1800, (eds.) Wolf- lern und andern merckwürdigen Personen aus Ulm, Ulm, 1798, I, gang Behringer, Bernd Roeck, München, 1999, 392–396. 264–266; AUGUST HIRSCH, Gockel, Eberhard, in: Allgeimeine 15 Deutsche Biographie, 9 (1879), 305
99 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102)
23 politischer Konflikte im Heiligen Römischen Reich 1648–1750, G 1 1703/1, f. 458, 1687 den 9 Decemb wurde Josephus Kaysers Göttingen, 2013, 339–392. Leopoldi I Sohn zu Pressburg zum Hungarische König gekrönt; f. 457v “(…) Josephus Jacobus Ignatius Johannes (…) erwehlte 34 König in Hungarn”; NÓRA G. ETÉNYI, Die Öffentlichkeitspolitik GERTRUD STETTER, Michael Wening. Leben und Werk des des kaiserlichen Hofes bei der Krönung Josephs I. zum König Kupferstecher und Topographia, München, 1964. von Ungarn, in: Das Königreich Ungarn und Königreich Böhmen 35 und der Wiener Hof im 16.–17. Jahrhundert, (eds.) István Faze- GYÖRGY RÓZSA, Budapest régi látképei. Alte Ansichten von kas, Anna Fundarkova, Bratislava – Wien, 2013, 175–214; ÉVA Budapest 1493–1800, Budapest, 1999, 64–65. GYULAI, Gyermekkirály a Magyar Királyság trónján – I. József koronázásának ikonográfiai reprezentációja [A child king on the 36 throne of Hungary: Iconographic representation of King Joseph I’s GYÖRGY RÓZSA (note 35), 122–123. coronation], in: Történelem és Muzeológia, 2/2 (2015), 18–46, 28. 37 24 GYÖRGY RÓZSA (note 35), 128–129, 105 (no. 63). G 1 1703/1, f. 477. 1689.08.3/13. 38 25 GYÖRGY RÓZSA (note 35) 170–171, 175 (no. 64). ALBRECHT WEYERMANN (note 2), 164–165. 39 26 GYÖRGY RÓZSA (note 35), 65, 176; JOHN ROGER PAAS, The BERNHARDT APPENZELLER, Die Münsterprediger bis zum German Political Broadsheet 1600–1700, vol. 11 (1683–1685), Wi- Übergang Ulms an Württemberg, 1810. Kurzbiographien und esbaden, 2012, 184, P-3441; GYÖRGY RÓZSA (note 35), 15, 20, 169. vollständiges Verzeichnis ihrer Scrifften, Ulm, 1990. 40 27 GYÖRGY RÓZSA (note, 35), 15, 20, 169, 152, 177–179. Available at Digitaler Portraitindex –
100 Rad. Inst. povij. umjet. 43/2019. (91–102) Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm...
48 Schwäbische Craiss Gen. denen Creiss Collegio dem Türckisch grossen GERTIE DENEKE – JOHANN HOFFMANN, Ein Beitrag zur Hauptfahnen von Neuhausel, so von grüner seid mit M…(Text out- Geschichte des Buch- und Kunsthandels in Nürnberg, in: Archiv of-focus) und in dessen Mitte in einen rothen feld mit güldene arabisch für Geschichte des Buchwesens, 1 (1958), 337–364. Buchstaben gemelte Neun elen lang und Elff elen brait prasentiret.” 49 62 WERNER KAYSER, Thomas von Wiering und Erben. Ein be- Abbildung und Beschreibung dess Türckischen Haupt-Fähnens deutendes Kapitel hamburgischer Druckgeschichte, in: Auskunft. welcher von denen dess Hochlöbl. Schwäbischen Reichs-Creisses Mitteilungsblatt Hamburger Bibliotheken, 10 (1990), 343–371. Auxiliar Völckern in der jüngsthin eroberten Vestung, Neuhäussel 50 gebeutet und zuruck gebracht worden. (…) Matthias Friedrichen ELMAR SCHMITT, Die Drucke der Wagnerischen Buchdruckrei Becken E. A. Augsburg, J. Koppmayer. Ottoman military flag with in Ulm 1677–1804, vols. 1–2, Konstanz, 1984. view of Neuhäusel. 51 63 ORSOLYA LÉNÁRT, Der Ungarische Kriegs-Roman, Medien, Wis- ALASTAIR HAMILTON, A Lutheran Translator for the Quran. A sen und Fremdwahrnehmung bei Eberhard Werner Happel, Wien, Late Seventeenth-Century Quest, in: The Republic of Letters and 2016; GERHILD SCHOLZ WILLIAMS, Mediating Culture in the the Levant, (eds.) Alastair Hamilton, Maurits H. van dem Boogart, Seventeenth-Century German Novel: Eberhard Werner Happel, Bart Westerweel, Leiden, Bonn, 2005, 199–205. 1647–1690, Michigan, 2013, 23–24. 64 52 ERNST PETRASCH, Die Karlsruher Türkenbeute, in: Badisches G 1 1703/1, f. 495, (1694) in den Augusto haben die Angellande Landesmuseum Karlsruhe. Die Karlsruher Türkenbeute. Die Türki- die berühmte französische Seehören in Normandia Dippe und sche Kammer des Markgrafen Ludwig Wilhelm von Baden-Baden, Haure Grace durch einen neuerfundene Machine infernal über (eds.) Ernst Petrasch, Reinhard Sänger, Eva Zimmermann, Hans eine hauffen geworffen. f. 496. Warhafftiger Abriss der künst- Georg Majer, München, 1991,11–51, 43; GÉZA GALAVICS, lichen Maschine (…) deren sich die Englisch- und Hollandische Kössünk kardot az pogány ellen. Török háborúk és képzőművészet Flotte, Frankreich zu empfindlichen Schaden, (…) See-Haven [Let us gird our swords against the heathen. Turkish war and art], und Stadt-Dieppe; JOHN ROGER PAAS (note 44), 235, P-3719. Budapest, 1986, 114–115. 53 65 G 1 1703/1, f. 493, Ausführliche Erzehlung der überaus Blutigen WINFRIED DOTZAUER, Die deutschen Reichskreise (1386– Schlacht, welche zwischen Ihro Königl. M. von Engeland und 1806), Stuttgart, 1998, 42, 73; PETER-CHRISTOPH STORM, Ihr. Churf. D. in Bayern, wider den Franzözischen Gen. von Lu- Der Schwäbische Kreis als Feldherr. Untersuchungen zur Wehr- xemburg (…) Tirlemont den 19/29 Julii 1693 gehalten worden; verfassung des Schwäbischen Reichskreises in der Zeit von 1648 JOHN ROGER PAAS (note 44), 233, P-3717. bis 1732, Berlin, 1974; ANNEMARIE RÖDER, Die Türkenkrieg 54 und Auswenderung. Historische Erinerungsorte im Südwes- Relationis Historicae Semestralis Autumnalis Continuatio. Jacobi tdeutschland, in: “Die Schiff” stehn schon bereit. Ulm und die Franci Historische Beschreibung der denckwürdigsten Geschichten Auswenderung nach Ungarn im 18. Jahrhundert (Forschungen (…), 16 –17, 22–23; BÉLA SZALAI (note 32), 120, 124. zur Geschichte der Stadt Ulm. Reihe Dokumentation, Band 13), (ed.) Márta Fata, Ulm, 2009., 119–130. 55 Diarium, Oder Kurze Beschreibung, Was täglich bey Belägerung 66 der Vestung Neuhäusel, vom 7. Julii an jezt-lauffenden 1685. Jahrs, HANS EUGEN SPECKER, Die Reichsstadt Ulm als Tagungsort (…) Erstlich gedruckt zu Wien, bey Leopold Voigt. des Schwäbischen Reichskreises, in: Reichskreis und Territorium. Die Herrschaft und der Herrschaft? Supraterritoriale Tendenzen in 56 Politik, Kultur, Wirtschaft und Gesellschaft. Ein Vergleich süddeut- Diarium (note 55), 25–27; ZOLTÁN PÉTER BAGI, A sváb kerületi schen Reichskreise, (ed.) Wolfgang Wütz, Stuttgart, 2000, 170–196. segélycsapatok kiállításának nehézségei és részvételük az 1685. évi hadjáratban [The Swabian District’s Auxiliary Troops in the Cam- 67 paign of 1685 the Difficulties of their Activation and the Opera- MAX PLASSMANN, Die Armeen des Fränkischen und des tions], in: Hadtörténelmi Közlemények, 129/1 (2016), 193–210, 204. Schwäbischen Reichskreises, in: Zwischen Sonne und Halbmond. Der Türkenlouis als Barockfürst und Feldherr. Begleitband zur 57 Sonderausstellung, (eds.) Daniel Hohrath, Christoph Rehm, ZOLTÁN PÉTER BAGI (note 56) 193–210. Rastatt, 2005, 56–65. 58 68 G 1 1703/1, f. 445, Belagerung Vestung Neuhaeusel Anno 1685. G 1 1703/1, f. 478. 1690 Sonntags ad 26 Jan S. V. ist zu Ulm wegen 59 dess Neugekrönte Römischen Königs Joseph I ein kommen und G 1 1703/1, f. 443, Neu-Heusel Hungarisch Vywar (…); ZOLTÁN Danckfest gehalten worden. PÉTER BAGI (note 56), 198–201. 69 60 DANIEL SPEER, Ungarischer Oder Dacianischer Simplicissimus G 1 1703/1, f. 447, Abbildung des Türckische Haupt Fahnens so (…) Sambt Deß Grafen Tekely Herkommen und biß auf jetzige Zeit von dess Hochl. Schwaebischen Reichs Craisses Auxiliar Völckern verloffenen Lebens-Lauff, 1683. auss der Vestung des Neuhausel zurück gebracht worden. 70 61 HANS-JÖRG KÜNAST, Die Graphiksammlung des Augsburger G 1 1703/1, f. 445, “Hoc anno et tempore (1685 18/28 Novembris) Stadtschreibers Konrad Peutinger, in: Augsburg, die Bildfabrik haben Ihre Hochstette dehro Heer Margraffen von Durlach dass Europas, (ed.) John Roger Paas, Augsburg, 2001, 11–20; HELGA
101 Nóra G. Etényi: Broadsheets with Engravings in a Manuscript Chronicle from Ulm... Rad. Inst. povij. umjet. 43/2019. (91–102)
MEISE, Medienkonsum oder Wissensdispositif. Zur Stellung 73 von Flugblättern und Flugschriften in Marcus Lamms Thesaurus BENEDIKT MAUER, “Gemain Geschrey” und “Teglich reden”. picturarum (1564–1606), in: Daphnis, 37/1–2 (2008), 153–177. Georg Kölderer – ein Augsburger Chronist des konfessionellen Zeitalters, Augsburg, 2001, 36; SILVIA SERENA TSCHOPP, Wie 71 aus Nachrichten Geschichte wird. Die Bedeutung publizistischer BENEDIKT MAUER, Sammeln und Lesen – Drucken und Quellen für die Augsburger Chronik des Georg Kölderer, in: Schreiben. Die vier Welten des Augsburger Ratsdiener Paul Hector Daphnis, 37 (2008), 33–78. Mair, in: Medien und Weltbilder im Wandel der Frühen Neuzeit (Documenta Augustana, 5), (eds.) Franz Mauelshagen, Benedikt 74 Mauer, Augsburg, 2000, 107–132. VLADIMIR MAGIĆ, The Janez Vajkard Valvasor Library, in: Blue Blood, Black Ink. Book Collections of Aristocratic Families from 72 1500 to 1700: International Traveling Exhibition; Zagreb, Martin, GEORG KÖLDERER, “Beschreibunng vnnd Kurtze Vertzaichnus Bratislava, Budapest, Burg Forchtenstein, (ed.) István Monok, Fürnemer Lob vnnd gedenckhwürdiger Historien” – Eine Chronik Budapest, 2005, 41–59; MILAN PELC, Theatrum humanum: der Stadt Augsburg der Jahre 1576 bis 1607, vol. 1–4, (eds.) Sil- Illustrierte Flugblätter und Druckgraphik des 17. Jahrhunderts als via Strodel, Wolfgang E. J. Weber (Documenta Augustana, 26), Spiegel der Zeit (Beispiele aus dem Bestand der Sammlung Valvasor Augsburg, 2013. des Zagraber Erzbistums), Ostfildern, 2013, 139, 134.
Sažetak
Nóra G. Etényi Grafički plakati u rukopisnoj kronici iz Ulma: Vizualna reprezentacija Ugarskog Kraljevstva na njemačkim političkim letcima tijekom Velikog turskog rata (1683.–1699.)
Vijesti o ratu protiv Osmanskog carstva bile su popraćene Kraljevstva protiv Osmanlija. Uključivši tri različita prikaza propagandnim materijalima. Izdavačke kuće u Beču, Nürn- opsade tvrđave Nové Zámky 1685. godine, Gockel je pokazao bergu, Hamburgu i Augsburgu objavljivale su kronike, da razumije strateški značaj ponovnog zauzimanja bivšeg relevantne vedute, ratne dnevnike, inženjerske planove i središta Kapetanije. Međutim, liječnika nisu zanimale vojne službena izvješća. akcije ni pripreme za ponovno osvajanje Budima, o čemu O najvažnijim događajima i aktivnostima tijekom Veli- su cjelovite vojne dnevnike objavili Leopold Voigt u Beču kog turskog rata svjedočio je i Eberhard Gockel (Göckel, i August Hanckwit u Regensburgu. U skladu s Gockelovim 1636.–1703.), liječnik iz Ulma, u svojem dnevniku pisanom konceptom, tiskani dnevnici opisuju borbu tisuću i šesto od 1678. do 1703. godine. Prikupljene vijesti o vojnim doga- švapskih vojnika u posljednjem velikom napadu 19. kolo- đanjima sagledao je iz aspekta udaljena svjedoka, istaknuvši voza, osobito ističući snažnu jedinicu od tri stotine ljudi u najznačajnije trenutke rekonkviste. Kronici je priložio pla- desnoj koloni, koja se uspjela domoći zelene zastave Osman- kate i grafike s prikazima oslobođenih mađarskih utvrda i ske garde. Gockel je zabilježio značajnu ulogu švapskih trupa dvoraca, kao i velikih pobjeda nad Osmanlijama. S dobrim uključivši u svoj dnevnik tri grafička prikaza, među kojima je osjećajem za kvalitetu grafika, Gockel je birao djela renomi- upravo onaj s osmanskom zastavom koja zaprema dvije tre- ranih izdavača kao što su Jakob Koppmayer iz Augsburga, ćine kadra, popraćen zapisom da je švapske trupe predvodio Johann Jonathan Felsecker i Johann Hoffmann iz Nürnber- grof Charles Gustav od Baden-Durlacha. Ta grafika, rađena ga te Michael Wening iz Münchena. Gockelova uporaba prema crtežu Sixtusa Kummera iz Ulma, djelo je poznatog bakropisa ukazuje na sličnosti s poznatim suvremenikom i slikara iz Augsburga Johanna Ulricha Kraussa. istinskim polihistorom Johannom Weichardom Valvasorom Usredotočen na vijesti o ratu s Osmanlijama 1683.–1688. (1641.–1693.). Premda je kranjski aristokrat, sakupivši 7.921 godine, Gockel je zabilježio pobjede nad njima čak i nakon grafiku imao daleko veći potencijal od liječnika iz Ulma, francuske invazije zapadno od rijeke Rajne 1688. godine. Kao Goeckel se usredotočio na tematski specifične letke nastale kroničar Gockel je bio kritičan prema raznoraznim vojnim 1683.–1687. godine, kupujući ih od Jacoba Koppmayera, vijestima, a pokušao je također ostati nepristran u političkim Johanna Jonathana Felseckera i Johanna Hoffmana. i vjerskim pitanjima. Gockelova je kronika pružila čitateljima Gockel je shvatio političku ulogu protuturske propagande, ali plakata mogućnost kritičkog razmatranja spomenutih doga- i konkurenciju među saveznicima kada je riječ o reprezenta- đaja, dokazujući da su senzibilitet i znatiželja bili značajan ciji putem tiskanih medija. Kao građanin Ulma poštivao je dio identiteta građana Ulma. interes Habsburške kuće, no uglavnom je bio usredotočen na ulogu carskih i švapskih trupa, a pojedina mjesta u tekstu Ključne riječi: Eberhard Gockel (1636.–1703.), rukopisna smišljeno je koristio za prezentaciju svojega grada. Njegov kronika iz Ulma, Veliki turski rat (1683.–1699.), rukopis ilustrirani rukopis pruža i detaljan opis borbe Ugarskog ilustriran bakropisima, ilustrirani plakati, letci
102 Izvori ilustracija i autori fotografija / Sources of illustrations and photo Credits
Višnja Bralić 6: Bibliothèque nationale de France, Paris, département Musique, RES-1527. The Cult of Saint Euphemia, the Patron Saint of Rovinj, and the Vene- 11: Nacionalna i sveučilišna knjižnica, Zagreb, RIIA-8°-8. tian Politics of Co-creating Local Identities in Istrian Communities in the 15th Century / Kult sv. Eufemije, zaštitnice Rovinja i venecijanska 12: Nacionalna i sveučilišna knjižnica, Zagreb, RIIA-16°-5. politika sukreiranja lokalnih identiteta u istarskim zajednicama 15. stoljeća Milan Pelc 1: © Museo Correr, Venezia (Giuseppe Rosaccio, Viaggio da Venezia a Panegyric Emblem Books, Jesuits and the Habsburg Emperors: Some Costantinopoli, per mare e per Terra, & insieme quello di Terra Santa, Examples Related to 17th-Century Croatia / Panegirički amblemi Venetia: Giacomo Franco, 1598, fol. 7v) i habsburški carevi – primjeri iz 17. stoljeća povezani s hrvatskom 2–10: Ljubo Gamulin kulturnom sredinom 1: © Hrvatski povijesni muzej, Zagreb / Croatian History Museum Anna Boreczky 2: © University Library, Budapest / Egyetemi Könyvtár, Kézirattár Historiography and Propaganda in the Royal Court of King Matthias: 3–20: © Austrian National Library, Vienna / Österreichische Na- Hungarian Book Culture at the End of the Middle Ages and Beyond / tionalbibliothek Historiografija i propaganda na dvoru kralja Matije Korvina. Mađarska kultura knjige krajem srednjega vijeka i dalje Polona Vidmar 1–11, 14, 16–18: © National Széchényi Library, Budapest (Országos Cæsari in mis omni hora fidelis servivi: The Portraits of Sigismund Széchényi Könyvtár) Herberstein and Walter Leslie in Diplomatic Robes / Cæsari in mis 12, 13: © Heidelberg University Library (Universitätsbibliothek omni hora fidelis servivi: Portreti Žigmunda Herbersteina i Waltera Heidelberg) Leslieja u diplomatskim odorama 15: From Wikimedia Commons, the free media repository 1–2, 4, 6: Knjižnica Ivana Potrča Ptuj / Ivan Potrč Library Ptuj 3: Hollstein’s German Engravings, Etchings and Woodcuts 1400–1700, Ivan Gerát vol. XIII A, 1984 Saint George Between Media and Functions / Sv. Juraj između medija 5, 10, 13: Google Books i funkcija 7–9, 11–12: Polona Vidmar 1: Image courtesy National Gallery of Art, Washington DC Nóra G. Etényi 2: https://www.metmuseum.org/art/collection/, Public Domain 3: https://www.metmuseum.org/art/collection/, Public Domain Broadsheets with Engravings in a Manuscript Chronicle from Ulm: 4, 5: Ivan Gerát Visual Representations of the Hungarian Kingdom on German Po- litical Leaflets during the War of Reconquest (1683–1699) / Grafički 6: Archive of the Institute of Art History of the Slovak Academy of plakati u rukopisnoj kronici iz Ulma: Vizualna reprezentacija Ugarskog Sciences Kraljevstva na njemačkim političkim letcima tijekom Velikog turskog rata (1683.–1699.) Ivan Ferenčak 1, 4: © Austrian National Library Portrait Collection, Vienna / The Illustrations in the Glagolitic Books Printed by Bishop Šimun Österreichische Nationalbibliothek Porträtsammlung Kožičić Benja in Rijeka (1530–1531) / Ilustracije u glagoljskim knji- 2, 3, 6: © Hungarian National Museum, Budapest / Magyar Nemzeti gama biskupa Šimuna Kožičića Benje tiskanim u Rijeci (1530.–1531.) Múzeum 1: Tamara Runjak, Rijetkosti u Knjižnici Hrvatske akademije znanosti 5, 7: © National Széchényi Library, Budapest, Apponyi Sammlung / i umjetnosti: katalog inkunabula i knjiga 16. stoljeća, Zagreb, 2011. Országos Széchényi Könyvtár, Apponyi Metszet 2, 7–10: Zagreb, Knjižnica Hrvatske akademije znanosti i umjetnosti, R-600, snimio Ivan Ferenčak 2019. Werner Telesko 3: Ivan Ferenčak, 2019. Graphic prints of the Josephine period (1765/1790) and the propa- 4: Biblioteca nazionale Marciana, Venezia, BM – Rari Ven. 579 (su ganda of ‘Religious Tolerance’ / Grafički listovi Jozefinskog razdoblja concessione del Ministero per i Beni e le Attività Culturali – Biblioteca (1765./1790.) i propaganda “Vjerske tolerancije” Nazionale Marciana. Divieto di riproduzione). 5: Biblioteca nazionale centrale di Firenze, Firenze, MAGL.2.1.109 (su 1: © Austrian National Library, Vienna concessione del Ministero dei beni e delle attività culturali. Biblioteca 2: © Austrian National Library, Vienna Nazionale Centrale di Firenze. Divieto di riproduzione) 3: © Vienna Museum
255 4: © Vienna Museum 2–4: © Rijksarchief in België / Archives de l’État en Belgique, Alge- 5: © Vienna Museum meen Rijksarchief / Archives générales du Royaume, Fond Duitse 6: © Vienna Museum Staatssecretarie / Secrétairerie d’État Allemande, 413, p. 309 5: Pompeo Giustiniano, Delle guerre di Fiandra libri 6. Di Pompeo Martina Frank Giustiniano del Consiglio di guerra di S. M. C. (...) Posti in luce da Gioseppe Gamurini (...) con le figure delle cose più notabili, In Anversa, Representing the Republic in Seventeenth-Century Venice / Pred- 1609., 84–85 stavljanje Republike u Veneciji 17. stoljeća 1, 3, 4, 5, 12: © Austrian National Library, Vienna / Österreichische Radoslav Tomić Nationalbibliothek Generalni providur Leonardo Foscolo i umjetnost u Dalmaciji / 2, 15: Martina Frank Provveditore generale Leonardo Foscolo and Art in Dalmatia 6: © University Library of Padua / Biblioteca universitaria di Padova 7: © McNay Art Museum 1–30: Fotografije iz arhive autora 8: Cat Bauer (https://venetiancat.blogspot.com/2016/11/thanksgiv- 4: Presnimak iz: Alfons Pavich pl. Pfauenthal, Prinosi povijesti Poljica, ing-in-venice-celebrates-black.html) Sarajevo, 1903., 79. 9, 10: https://www.lamoneta.it/topic/157941-medaglia-nicol% C3%B2-contarini/ Petar Puhmajer 11: © José Luiz Bernardes Ribeiro / CC BY-SA 4.0 13: Internet culturale Dvorac Cernik – kontinuitet i mijene predturskog nasljeđa u barokno doba / The Cernik Castle – Continuity and Change in the Pre-Ottoman 14: © Marciana National Library / Biblioteca Nazionale Marciana, Heritage during the Baroque Era Venezia 16: © Museo Civico del Castello di San Giusto, Trieste 1, 2, 9: Paolo Mofardin, Fototeka IPU 3 a, b; 6 a, b, c, d: arhitektonski snimak Sanja Štok i Barbara Kulmer, Bálint Ugry – Maja Žvorc grafička obrada Marin Čalušić The Čakovec Stone Bust Collection: New Identifications, Possible 4, 7, 10, 11: Petar Puhmajer Dating and the Identity of its Commissioner / Zbirka kamenih bisti 5: © Generallandesarchiv, Karlsruhe u Čakovcu: Nove identifikacije, moguće datacije i naručitelj 1, 4, 6, 8, 10: Jovan Kliska Bojan Goja 2: © Austrian National Library (Österreichische Nationalbibliothek), Kuća Cattinelli 1772. godine: prilog poznavanju stambene arhitekture Vienna u Zadru u 18. stoljeću / 13, 15: © Museum of Međimurje (Muzej Međimurja), Čakovec The Cattinelli House in 1772: A Contribution to Our Knowledge of 3, 5, 7, 9, 11, 14, 16: Corpus Juris Hungarici, Tyrnaviae, 1751. Housing Architecture in 18th-Century Zadar 12: © National Széchényi Library (Országos Széchényi Könyvtár), Budapest 1, 2: Bojan Goja 17, 18: © National Archives of Hungary (Magyar Nemzeti Levéltár), 3, 4: Branko Maroević, dipl. ing. arh., izrada nacrta Budapest 19: Bálint Ugry Iva Pasini Tržec Slike starih majstora iz zbirke Ervina i Branke Weiss u Strossmayero- Damir Tulić voj galeriji u Zagrebu / Paintings of Old Masters from the Collection of Glory Crowned in Marble: Self-promotion of Individuals and Fami- Ervin and Branka Weiss in the Strossmayer Gallery in Zagreb lies in Seventeenth- and Eighteenth-Century Monuments in Istria 1, 3, 6: Arhiv Strossmayerove galerije HAZU, dokumentacija Weiss and Dalmatia / Slava okrunjena mramorom: Samopromocija osoba i obitelji na spomenicima 17. i 18. stoljeća u Istri i Dalmaciji 2: MAK – Museum of Applied Arts (Museum für angewandte Kunst), Vienna 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 15, 16, 17: Damir Tulić 4: RKD – Netherlands Institute for Art History (Rijksbureau voor 14: Samo Štefanac Kunsthistorische Documentatie), Den Haag 5: Palais Liechtenstein, Vienna Jasminka Najcer Sabljak 6: © Strossmayerova galerija starih majstora HAZU 7: BDA – Bundesdenkmalamt Archiv (Federal Monuments Authority Portraits of Habsburg Rulers in the Aristocratic Collections of Eastern Austria Archive), Vienna Croatia / Portreti vladara obitelji Habsburg u plemićkim zbirkama istočne Hrvatske Irena Kraševac 1, 2: © Galerija Matice srpske, Novi Sad 3: Francisca Clary-Aldringen Prva tri djela u fundusu Moderne galerije Društva umjetnosti / The 4: Davor Šarić First Three Artworks in the Holdings of the Modern Gallery of the Art Society in Zagreb
Danko Zelić 1, 4: Goran Vranić, Moderna galerija, Zagreb 2: Paolo Mofardin, Institut za povijest umjetnosti, Zagreb Projekt Fausta Vrančića za opsadu Ostendea iz 1603. godine / Faust 3: digitalna presnimka iz kataloga izložbe: Ivan Meštrović. Skulpturen, Vrančić’s Design for the Siege of Ostend from the Year 1603 Nationalgalerie, Staatliche Museen Preußischer Kulturbesitz, Berlin, 1: Matthias Dögen, Architectura militaris moderna (...), Amstelodami, 1987. (Nenad Gattin?) 1647., 354–355. 5: Arhiv Galerije grada Praga / Archive of Prague City Gallery
256